Country Roads Quotes

Have you ever heard the wonderful silence just before the dawn? Or the quiet and calm just as a storm ends? Or perhaps you know the silence when you haven't the answer to a question you've been asked, or the hush of a country road at night, or the expectant pause of a room full of people when someone is just about to speak, or, most beautiful of all, the moment after the door closes and you're alone in the whole house? Each one is different, you know, and all very beautiful if you listen carefully.

First, Lord: No tattoos. May neither Chinese symbol for truth nor Winnie-the-Pooh holding the FSU logo stain her tender haunches. May she be Beautiful but not Damaged, for it’s the Damage that draws the creepy soccer coach’s eye, not the Beauty. When the Crystal Meth is offered, May she remember the parents who cut her grapes in half And stick with Beer. Guide her, protect her When crossing the street, stepping onto boats, swimming in the ocean, swimming in pools, walking near pools, standing on the subway platform, crossing 86th Street, stepping off of boats, using mall restrooms, getting on and off escalators, driving on country roads while arguing, leaning on large windows, walking in parking lots, riding Ferris wheels, roller-coasters, log flumes, or anything called “Hell Drop,” “Tower of Torture,” or “The Death Spiral Rock ‘N Zero G Roll featuring Aerosmith,” and standing on any kind of balcony ever, anywhere, at any age. Lead her away from Acting but not all the way to Finance. Something where she can make her own hours but still feel intellectually fulfilled and get outside sometimes And not have to wear high heels. What would that be, Lord? Architecture? Midwifery? Golf course design? I’m asking You, because if I knew, I’d be doing it, Youdammit. May she play the Drums to the fiery rhythm of her Own Heart with the sinewy strength of her Own Arms, so she need Not Lie With Drummers. Grant her a Rough Patch from twelve to seventeen. Let her draw horses and be interested in Barbies for much too long, For childhood is short – a Tiger Flower blooming Magenta for one day – And adulthood is long and dry-humping in cars will wait. O Lord, break the Internet forever, That she may be spared the misspelled invective of her peers And the online marketing campaign for Rape Hostel V: Girls Just Wanna Get Stabbed. And when she one day turns on me and calls me a Bitch in front of Hollister, Give me the strength, Lord, to yank her directly into a cab in front of her friends, For I will not have that Shit. I will not have it. And should she choose to be a Mother one day, be my eyes, Lord, that I may see her, lying on a blanket on the floor at 4:50 A.M., all-at-once exhausted, bored, and in love with the little creature whose poop is leaking up its back. “My mother did this for me once,” she will realize as she cleans feces off her baby’s neck. “My mother did this for me.” And the delayed gratitude will wash over her as it does each generation and she will make a Mental Note to call me. And she will forget. But I’ll know, because I peeped it with Your God eyes.

Home sweet home. No place like home. Take me home, country roads. Home is where the heart is. But my heart is here. So I must be home. Clare sighs, turns her head, and is quiet. Hi, honey. I'm home. I'm home.

There is nobody in this country who got rich on their own. Nobody. You built a factory out there - good for you. But I want to be clear. You moved your goods to market on roads the rest of us paid for. You hired workers the rest of us paid to educate. You were safe in your factory because of police forces and fire forces that the rest of us paid for. You didn't have to worry that marauding bands would come and seize everything at your factory... Now look. You built a factory and it turned into something terrific or a great idea - God bless! Keep a hunk of it. But part of the underlying social contract is you take a hunk of that and pay forward for the next kid who comes along.

all I wanted to do was sneak out into the night and disappear somewhere, and go and find out what everybody was doing all over the country.

I was going to die, sooner or later, whether or not I had even spoken myself. My silences had not protected me. Your silences will not protect you.... What are the words you do not yet have? What are the tyrannies you swallow day by day and attempt to make your own, until you will sicken and die of them, still in silence? We have been socialized to respect fear more than our own need for language." I began to ask each time: "What's the worst that could happen to me if I tell this truth?" Unlike women in other countries, our breaking silence is unlikely to have us jailed, "disappeared" or run off the road at night. Our speaking out will irritate some people, get us called bitchy or hypersensitive and disrupt some dinner parties. And then our speaking out will permit other women to speak, until laws are changed and lives are saved and the world is altered forever. Next time, ask: What's the worst that will happen? Then push yourself a little further than you dare. Once you start to speak, people will yell at you. They will interrupt you, put you down and suggest it's personal. And the world won't end. And the speaking will get easier and easier. And you will find you have fallen in love with your own vision, which you may never have realized you had. And you will lose some friends and lovers, and realize you don't miss them. And new ones will find you and cherish you. And you will still flirt and paint your nails, dress up and party, because, as I think Emma Goldman said, "If I can't dance, I don't want to be part of your revolution." And at last you'll know with surpassing certainty that only one thing is more frightening than speaking your truth. And that is not speaking.

Trying to predict the future is like trying to drive down a country road at night with no lights while looking out the back window.

There are songs that come free from the blue-eyed grass, from the dust of a thousand country roads. This is one of them.

Kept dreaming of this spot she had on her neck, this tiny country. I wanted to visit, to paint a picture of what I found there, a wall with a road map of her skin.

She spoke of evenings in the country making popcorn on the porch. Once this would have gladdened my heart but because her heart was not glad when she said it I knew there was nothing in it but the idea of what one should do.

To know a person in his home is not to know him at all: to meet him on a country road with only his baggage is to at last contact the core, the inner cell of his personality.

I am the son of the road , my country is a caravan and my life is the most unexpected of voyages. i belong to earth and to the god and it is to them that I will one day soon return

Hope is like a road in the country; there was never a road, but when many people walk on it, the road comes into existence.

A picnic. Picture a forest, a country road, a meadow. Cars drive off the country road into the meadow, a group of young people get out carrying bottles, baskets of food, transistor radios, and cameras. They light fires, pitch tents, turn on the music. In the morning they leave. The animals, birds, and insects that watched in horror through the long night creep out from their hiding places. And what do they see? Old spark plugs and old filters strewn around... Rags, burnt-out bulbs, and a monkey wrench left behind... And of course, the usual mess—apple cores, candy wrappers, charred remains of the campfire, cans, bottles, somebody’s handkerchief, somebody’s penknife, torn newspapers, coins, faded flowers picked in another meadow.

The road was frozen. The village lay quiet under the cold sky. Komako hitched up the skirt of her kimono and tucked it into her obi. The moon shone like a blade frozen in blue ice.

The rest of the journey passed uneventfully, if you consider it uneventful to ride fifteen miles on horseback through rough country at night, frequently without benefit of roads, in company with kilted men armed to the teeth, and sharing a horse with a wounded man. At least we were not set upon by highwaymen, we encountered no wild beasts, and it didn't rain. By the standards I was becoming used to, it was quite dull.

I will fight for my country, but I will not lie for her.

I really preferred to walk. I have only just landed in England from New York, and it's quite a treat to walk on an English country road again.

People who claim to know jackrabbits will tell you they are primarily motivated by Fear, Stupidity, and Craziness. But I have spent enough time in jack rabbit country to know that most of them lead pretty dull lives; they are bored with their daily routines: eat, fuck, sleep, hop around a bush now and then....No wonder some of them drift over the line into cheap thrills once in a while; there has to be a powerful adrenalin rush in crouching by the side of a road, waiting for the next set of headlights to come along, then streaking out of the bushes with split-second timing and making it across to the other side just inches in front of the speeding front wheels

Tell me, was I the sort of person who took your elbow when cars passed on the street, touched your cheek while you talked, combed your wet hair, stopped by the side of the road in the country to point out certain constellations, standing behind you so that you had the advantage of leaning and looking up?

We might have known sooner that the most reliable predictor of whether a country is violent within itself—or will use military violence against another country—is not poverty, natural resources, religion, or even degree of democracy; it’s violence against females. It normalizes all other violence.

I think all Christians would agree with me if I said that though Christianity seems at first to be all about morality, all about duties and rules and guilt and virtue, yet it leads you on, out of all that, into something beyond. One has a glimpse of a country where they do not talk of those things, except perhaps as a joke. Everyone there is filled full with what we should call goodness as a mirror is filled with light. But they do not call it goodness. They do not call it anything. They are not thinking of it. They are too busy looking at the source from which it comes. But this is near the stage where the road passes over the rim of our world. No one's eyes can see very far beyond that: lots of people's eyes can see further than mine.

I cannot emphasize enough how wrongheaded this is. Withholding criticism and ignoring differences are racism in its purest form. Yet these cultural experts fail to notice that, through their anxious avoidance of criticizing non-Western countries, they trap the people who represent these cultures in a state of backwardness. The experts may have the best of intentions, but as we all know, the road to hell is paved with good intentions.

If you don't believe it, go down to your local karaoke bar on a busy night. Wait until the third hour, when the drunk frat boys and gastropub waitresses with headshots are all done with Backstreet Boys and Alicia Keys and locate the slightly older Asian businessman standing patiently in line for his turn, his face warmly rouged on Crown or Japanese lager, and when he steps up and starts slaying "Country Roads," try not to laugh, or wink knowingly or clap a little too hard, because by the time he gets to "West Virginia, mountain mama," you're going to be singing along, and by the time he's done, you might understand why a seventy-seven-year-old guy from a tiny island in the Taiwan Strait who's been in a foreign country for two-thirds of his life can nail a song, note perfect, about wanting to go home.

One great love in a single lifetime was enough for anyone.

William Roper: “So, now you give the Devil the benefit of law!” Sir Thomas More: “Yes! What would you do? Cut a great road through the law to get after the Devil?” William Roper: “Yes, I'd cut down every law in England to do that!” Sir Thomas More: “Oh? And when the last law was down, and the Devil turned 'round on you, where would you hide, Roper, the laws all being flat? This country is planted thick with laws, from coast to coast, Man's laws, not God's! And if you cut them down, and you're just the man to do it, do you really think you could stand upright in the winds that would blow then? Yes, I'd give the Devil benefit of law, for my own safety's sake!

Have you ever heard the wonderful silence just before the dawn?" she inquired. "Or the quiet and calm just as the storm ends? Or perhaps you know the silence when you haven't the answer to a question you've been asked, or the hush of a country road at night, or the expectant pause in a roomful of people when someone is just about to speak, or, most beautiful of all, the moment after the door closes and you're all alone in the whole house? Each one is different, you know, and all very beautiful, if you listen carefully.

I couldn't picture heaven. How could a place be any good at all if it didn't have the things there you enjoyed doing? If there were no comic books, no monster movies, no bikes, and no country roads to ride them on? No swimming pools, no ice cream, no summer, or barbecue on the Fourth of July? No thunderstorms, and front porches on which to sit and watch them coming? Heaven sounded to me like a library that only held books about one certain subject, yet you had to spend eternity and eternity and eternity reading them. What was heaven without typewriter paper and a magic box?

The car suddenly veered off the road and we came to a sliding halt in the gravel. I was hurled against the dashboard. My attorney was slumped over the wheel. “What’s wrong?” I yelled. “We can’t stop here. This is bat country!

Clare snores, quiet animal snores that feel like bulldozers running through my head. I want my own bed, in my own apartment. Home sweet home. No place like home. Take me home, country roads. Home is where the heart is. But my heart is here. So I must be home. Clare sighs, turns her head, and is quiet. Hi, honey, I'm home. I'm home.

City people. They may know how to street fight but they don't know how to wade through manure.

Our freedom of choice in a competitive society rests on the fact that, if one person refuses to satisfy our wishes, we can turn to another. But if we face a monopolist we are at his absolute mercy. And an authority directing the whole economic system of the country would be the most powerful monopolist conceivable…it would have complete power to decide what we are to be given and on what terms. It would not only decide what commodities and services were to be available and in what quantities; it would be able to direct their distributions between persons to any degree it liked.

I realised, of course, that other people used these roads; but that night, it seemed to me these dark byways of the country existed just for the likes of us, while the big glittering motorways with their huge signs and super cafes were for everyone else.

No, I'd never been to this country before. No, I didn't know where the roads would lead me. No, I didn't intend to turn back.

When a country is defeated, there remain only mountains and rivers, and on a ruined castle in spring only grasses thrive. I sat down on my hat and wept bitterly till I almost forgot time. A thicket of summer grass Is all that remains Of the dreams and ambitions Of ancient warriors.

The road is a word, conceived elsewhere and laid across the country in the wound prepared for it: a word made concrete and thrust among us.

I was in the winter of my life- and the men I met along the road were my only summer. At night I fell sleep with vision of myself dancing and laughing and crying with them. Three year down the line of being on an endless world tour and memories of them were the only things that sustained me, and my only real happy times. I was a singer, not very popular one, who once has dreams of becoming a beautiful poet- but upon an unfortunate series of events saw those dreams dashed and divided like million stars in the night sky that I wished on over and over again- sparkling and broken. But I really didn’t mind because I knew that it takes getting everything you ever wanted and then losing it to know what true freedom is. When the people I used to know found out what I had been doing, how I had been living- they asked me why. But there’s no use in talking to people who have a home, they have no idea what its like to seek safety in other people, for home to be wherever you lied you head. I was always an unusual girl, my mother told me that I had a chameleon soul. No moral compass pointing me due north, no fixed personality. Just an inner indecisiviness that was as wide as wavering as the ocean. And if I said that I didn’t plan for it to turn out this way I’d be lying- because I was born to be the other woman. I belonged to no one- who belonged to everyone, who had nothing- who wanted everything with a fire for every experience and an obssesion for freedom that terrified me to the point that I couldn’t even talk about- and pushed me to a nomadic point of madness that both dazzled and dizzied me. Every night I used to pray that I’d find my people- and finally I did- on the open road. We have nothing to lose, nothing to gain, nothing we desired anymore- except to make our lives into a work of art. LIVE FAST. DIE YOUNG. BE WILD. AND HAVE FUN. I believe in the country America used to be. I belive in the person I want to become, I believe in the freedom of the open road. And my motto is the same as ever- *I believe in the kindness of strangers. And when I’m at war with myself- I Ride. I Just Ride.* Who are you? Are you in touch with all your darkest fantasies? Have you created a life for yourself where you’re free to experience them? I Have. I Am Fucking Crazy. But I Am Free.

Katherine of Aragon was speaking out for the women of the country, for the good wives who should not be put aside just because their husbands had taken a fancy to another, for the women who walked the hard road between kitchen, bedroom, church and childbirth. For the women who deserved more than their husband's whim.

Then birds flew up like a shower of sparks, I followed them with my eyes and saw how they rose in a single breath, until they seemed no longer to be rising but I to be falling...

With you a part of me hath passed away; For in the peopled forest of my mind A tree made leafless by this wintry wind Shall never don again its green array. Chapel and fireside, country road and bay, Have something of their friendliness resigned; Another, if I would, I could not find, And I am grown much older in a day. But yet I treasure in my memory Your gift of charity, and young hearts ease, And the dear honour of your amity; For these once mine, my life is rich with these. And I scarce know which part may greater be,-- What I keep of you, or you rob from me.

The road now stretched across open country, and it occured to me - not by way of protest, not as a symbol, or anything like that, but merely as a novel experience - that since I had disregarded all laws of humanity, I might as well disregard the rules of traffic. So I crossed to the left side of the highway and checked the feeling, and the feeling was good. It was a pleasant diaphragmal melting, with elements of diffused tactility, all this enhanced by the thought that nothing could be nearer to the elimination of basic physical laws than deliberately driving on the wrong site of the road.

From then on, it was even twistier B-roads through a country so photgenically rural that I half expected to meet Bilbo Baggins around the next corner - providing he'd taken to driving a Nissan Micra.

We paid for this instead of a generation of health insurance, or an alternative energy grid, or a brand-new system of roads and highways. With the $13-plus trillion we are estimated to ultimately spend on the bailouts, we could not only have bought and paid off every single sub-prime mortgage in the country (that would only have cost $1.4 trillion), we could have paid off every remaining mortgage of any kind in this country - and still have had enough money left over to buy a new house for every American who does not already have one.

I like being in a country where when cows attack, word of it gets around. That’s what I mean when I say Britain is cozy.

But I come from no country, from no city, no tribe. I am the son of the road, my country is the caravan, my life the most unexpected of voyages.

I ate another apple pie and ice cream; that's practically all I ate all the way across the country, I knew it was nutritious and it was delicious, of course.

This town of churches and dreams; this town I thought I would lose myself in, with its backward ways and winding roads leading to nowhere; but, I found myself instead. -Magic in the Backyard (excerpt from American Honey)

I reached out my hand, England's rivers turned and flowed the other way... I reached out my hand, my enemies's blood stopt in their veins... I reached out my hand; thought and memory flew out of my enemies' heads like a flock of starlings; My enemies crumpled like empty sacks. I came to them out of mists and rain; I came to them in dreams at midnight; I came to them in a flock of ravens that filled a northern sky at dawn; When they thought themselves safe I came to them in a cry that broke the silence of a winter wood... The rain made a door for me and I went through it; The stones made a throne for me and I sat upon it; Three kingdoms were given to me to be mine forever; England was given to me to be mine forever. The nameless slave wore a silver crown; The nameless slave was a king in a strange country... The weapons that my enemies raised against me are venerated in Hell as holy relics; Plans that my enemies made against me are preserved as holy texts; Blood that I shed upon ancient battlefields is scraped from the stained earth by Hell's sacristans and placed in a vessel of silver and ivory. I gave magic to England, a valuable inheritance But Englishmen have despised my gift Magic shall be written upon the sky by the rain but they shall not be able to read it; Magic shall be written on the faces of the stony hills but their minds shall not be able to contain it; In winter the barren trees shall be a black writing but they shall not understand it... Two magicians shall appear in England... The first shall fear me; the second shall long to behold me; The first shall be governed by thieves and murderers; the second shall conspire at his own destruction; The first shall bury his heart in a dark wood beneath the snow, yet still feel its ache; The second shall see his dearest posession in his enemy's hand... The first shall pass his life alone, he shall be his own gaoler; The second shall tread lonely roads, the storm above his head, seeking a dark tower upon a high hillside... I sit upon a black throne in the shadows but they shall not see me. The rain shall make a door for me and I shall pass through it; The stones shall make a throne for me and I shall sit upon it... The nameless slave shall wear a silver crown The nameless slave shall be a king in a strange country...

Every night I used to pray that I'd find my people, and finally I did on the open road. We had nothing to lose, nothing to gain, nothing we desired anymore, except to make our lives into a work of art. Live fast. Die young. Be wild. And have fun. I believe in the country America used to be. I believe in the person I want to become. I believe in the freedom of the open road. And my motto is the same as ever: "I believe in the kindness of strangers. And when I'm at war with myself I ride, I just ride." Who are you? Are you in touch with all of your darkest fantasies? Have you created a life for yourself where you can experience them? I have. I am fucking crazy. But I am free.

The road to the Olympics, leads to no city, no country. It goes far beyond New York or Moscow, ancient Greece or Nazi Germany. The road to the Olympics leads — in the end — to the best within us.

My Country I don't have any caps left made back home Nor any shoes that trod your roads I've worn out your last shirt quite long ago It was of Sile cloth Now you only remain in the whiteness of my hair Intact in my heart Now you only remain in the whiteness of my hair In the lines of my forehead My country -Nazim Hikmet

I was young, and by instinct of self-preservation I had to collect my energy on something, if I were not to be whirled away with the dusk on the farm-roads, or the smoke on the plain. I begun in the evenings to write stories, fairy-tales, and romances, that would take my mind a long way off, to other countries and times.

i mean talk about decadence," he declared, "how decadent can a society get? Look at it this way. This country's probably the psychiatric, psychoanalytical capital of the world. Old Freud himself could never've dreamed up a more devoted bunch of disciples than the population of the United States - isn't that right? Our whole damn culture is geared to it; it's the new religion; it's everybody's intellectual and spiritual sugar-tit. And for all that, look what happens when a man really does blow his top. Call the Troopers, get him out of sight quick, hustle him off and lock him up before he wakes the neighbors. Christ's sake, when it comes to any kind of showdown we're still in the Middle Ages. It's as if everybody'd made this tacit agreement to live in a state of total self-deception. The hell with reality! Let's have a whole bunch of cute little winding roads and cute little houses painted white and pink and baby blue; let's all be good consumers and have a lot of Togetherness and bring our children up in a bath of sentimentality -- and if old reality ever does pop out and say Boo we'll all get busy and pretend it never happened.

Confined on the ship, from which there is no escape, the madman is delivered to the river with its thousand arms, the sea with its thousand roads, to that great uncertainty external to everything. He is a prisoner in the midst of what is the freest, the openest of routes: bound fast at the infinite crossroads. He is the Passenger par excellence: that is, the prisoner of the passage. And the land he will come to is unknown—as is, once he disembarks, the land from which he comes. He has his truth and his homeland only in that fruitless expanse between two countries that cannot belong to him.

There's an energy to these autumn nights that touches something primal inside of me. Something from long ago. From my childhood in Western Iowa. I think of high school football games and the stadium lights blazing down on the players. I smell ripening apples, and the sour reek of beer from keg parties in the cornfields. I feel the wind in my face as I ride in the bed of an old pickup truck down a country road at night, dust swirling red in the taillights and the entire span of my life yawning out ahead of me. It's the beautiful thing about youth. There's a weightlessness that permeates everything because no damning choices have been made, no paths committed to, and the road forking out ahead is pure, unlimited potential.

What we’re told about this country is way too limited by generalities, sound bites, and even the supposedly enlightened idea that there are two sides to every question. In fact, many questions have three or seven or a dozen sides.

There is a truth in Schopenhauer’s view that philosophy is an organism, and that a book on philosophy, with a beginning and end, is a sort of contradiction. ... In philosophy matters are not simple enough for us to say ‘Let’s get a rough idea’, for we do not know the country except by knowing the connections between the roads.

St. Cyril of Jerusalem, in instructing catechumens, wrote: “The dragon sits by the side of the road, watching those who pass. Beware lest he devour you. We go to the Father of Souls, but it is necessary to pass by the dragon.” No matter what form the dragon may take, it is of this mysterious passage past him, or into his jaws, that stories of any depth will always be concerned to tell, and this being the case, it requires considerable courage at any time, in any country, not to turn away from the storyteller.

But who would build the roads if there were no government? You mean to tell me that 300 million people in this country and 7 billion people on the planet would just sit around in their houses and think “Gee, I’d like to go visit Fred, but I can't because there isn’t a flat thing outside for me to drive on, and I don’t know how to build it and the other 300 million or 7 billion people can’t possibly do it because there aren’t any politicians and tax collectors. If they were here then we could do it. If they were here to boss us around and steal our money and really inefficiently build the flat places, then we would be set. Then I would be comfortable and confident that I could get places. But I can’t go to Fred’s house or the market because we can’t possibly build a flat space from A to B. We can make these really small devices that enable us to contact people from all over the word that fits in our pockets; we can make machines that we drive around in, but no, we can’t possibly build a flat space.

An incomplete list: No more diving into pools of chlorinated water lit green from below. No more ball games played out under floodlights. No more porch lights with moths fluttering on summer nights. No more trains running under the surface of cities on the dazzling power of the electric third rail. No more cities. No more films, except rarely, except with a generator drowning out half the dialogue, and only then for the first little while until the fuel for the generators ran out, because automobile gas goes stale after two or three years. Aviation gas lasts longer, but it was difficult to come by. No more screens shining in the half-light as people raise their phones above the crowd to take pictures of concert states. No more concert stages lit by candy-colored halogens, no more electronica, punk, electric guitars. No more pharmaceuticals. No more certainty of surviving a scratch on one's hand, a cut on a finger while chopping vegetables for dinner, a dog bite. No more flight. No more towns glimpsed from the sky through airplane windows, points of glimmering light; no more looking down from thirty thousand feet and imagining the lives lit up by those lights at that moment. No more airplanes, no more requests to put your tray table in its upright and locked position – but no, this wasn't true, there were still airplanes here and there. They stood dormant on runways and in hangars. They collected snow on their wings. In the cold months, they were ideal for food storage. In summer the ones near orchards were filled with trays of fruit that dehydrated in the heat. Teenagers snuck into them to have sex. Rust blossomed and streaked. No more countries, all borders unmanned. No more fire departments, no more police. No more road maintenance or garbage pickup. No more spacecraft rising up from Cape Canaveral, from the Baikonur Cosmodrome, from Vandenburg, Plesetsk, Tanegashima, burning paths through the atmosphere into space. No more Internet. No more social media, no more scrolling through litanies of dreams and nervous hopes and photographs of lunches, cries for help and expressions of contentment and relationship-status updates with heart icons whole or broken, plans to meet up later, pleas, complaints, desires, pictures of babies dressed as bears or peppers for Halloween. No more reading and commenting on the lives of others, and in so doing, feeling slightly less alone in the room. No more avatars.

When you fly across the country in an airplane the country seems vast; but it isn't vast. It's all connected by roads one can ride a bike down. If you watch the news and there's a tragedy at a house in Kansas, that guy's driveway connects with yours, and you'd be surprised by how few roads it takes to get there.

Why love the boy in a March field with his kite braving the sky? Because our fingers burn with the hot string singeing our hands. Why love some girl viewed from a train bent to a country well? The tongue remembers iron water cool on some long lost noon. Why weep at strangers dead by the road? They resemble friends unseen in forty years. Why laugh when clowns are hot by pies? We taste custard we taste life. Why love the woman who is your wife? Her nose breathes the air of a world that I know; therefore I love that nose. Her ears hear music I might sing half the night through; therefore I love her ears. Her eyes delight in seasons of the land; and so I love those eyes. Her tongue knows quince, peach, chokeberry, mint and lime; I love to hear it speaking. Because her flesh knows heat, cold, affliction, I know fire, snow, and pain. Shared and once again shared experience. Billions of prickling textures. Cut one sense away, cut part of life away. Cut two senses; life halves itself on the instant. We love what we know, we love what we are. Common cause, common cause, common cause of mouth, eye, ear, tongue, hand, nose, flesh, heart, and soul.

The new country lay open before me: there were no fences in those days, and I could choose my own way over the grass uplands, trusting the pony to get me home again. Sometimes I followed the sunflower-bordered roads. Fuchs told me that the sunflowers were introduced into that country by the Mormons; that at the time of the persecution when they left Missouri and struck out into the wilderness to find a place where they could worship God in their own way, the members of the first exploring party, crossing the plains to Utah, scattered sunflower seeds as they went. The next summer, when the long trains of wagons came through with all the women and children, they had a sunflower trail to follow. I believe that botanists do not confirm Jake's story but, insist that the sunflower was native to those plains. Nevertheless, that legend has stuck in my mind, and sunflower-bordered roads always seem to me the roads to freedom.

She conceived of life as a road down which one traveled, an easy enough road through a broad country, and that one's destination was there from the very beginning, a measured distance away, standing in the ordinary light like some plain house where one went in and was greeted by respectable people and was shown to a room where everything one had ever lost or put aside was gathered together, waiting.

In Brazil, every road, bridge and viaduct has been given a name, usually that of some long-forgotten personage who was once famous for doing something worthy. Honestly, every one of them; deeper into the country, I’ve even found unsurfaced dirt tracks given names. I’m never likely to have even five minutes of fame, but if I did, I don’t think I’d want to be remembered by a dirt track going from Nowhere Town to Obscure Village.

Marylou was watching Dean as she had watched him clear across the country and back, out of the corner of her eye--with a sullen, sad air, as though she wanted to cut off his head and hide it in her closet, an envious and rueful love of him so amazingly himself, all raging and sniffy and crazy-wayed, a smile of tender dotage but also sinister envy that frightened me about her, a love she knew would never bear fruit because when she looked at his hangjawed bony face with its male self-containment and absentmindedness she knew he was too mad.

There being no direct route to Savannah from Charleston, I followed a zigzagging course that took me through the tidal flatlands of the South Carolina low country. As I approached Savannah, the road narrowed to a two-lane blacktop shaded by tall trees. There was an occasional produce stand by the side of the road and a few cottages set into the foliage, but nothing resembling urban sprawl. The voice on the radio informed me that I had entered a zone called the Coastal Empire.

Who's that? (Silence.) Who's there? (Silence.) God? Not exactly. Well, who? Where do I start? I'm the butterfly antenna. I'm the chemicals that paint's made of. I'm the person dead at the water's edge. I'm the water. I'm the edge. I'm the skin cells. I'm the smell of disinfectant. I'm that thing they rub against your mouth to moisten it, can you feel it? I'm soft. I'm hard. I'm glass. I'm sand. I'm a yellow plastic bottle. I'm all the plastics in the seas and in the guts of all the fishes. I'm the fishes. I'm the seas. I'm molluscs in the seas. I'm the flattened-out old beer can. I'm the shopping trolley in the canal. I'm the note on the stave, the bird on the line. I'm the stave. I'm the line. I'm spiders. I'm seeds. I'm water. I'm heart. I'm the cotton of the sheet. ..... I'm pollution. I'm a fall of horseshit on a country road a hundred years ago. ... I'm the fly .....I haven't even started telling you what I am. I'm everything that makes everything. I'm everything that unmakes everything. .... I'm the voice that tells no story.

There’s a great episode of The Office in which this strategy lands Michael Scott and Dwight Schrute in a lake during a sales trip, Michael shouting, “The machine knows!” as he follows the GPS instructions and drives his SUV off the road into the water. I’ve watched a lot of good people drive their lives, their families, their churches, their communities, even their countries into a lake, shouting, “The Bible knows!” all the way down.

This is the most beautiful place on earth. There are many such places. Every man, every woman, carries in heart and mind the image of the ideal place, the right place, the one true home, known or unknown, actual or visionary. A houseboat in Kashmir, a view down Atlantic Avenue in Brooklyn, a gray gothic farmhouse two stories high at the end of a red dog road in the Allegheny Mountains, a cabin on the shore of a blue lake in spruce and fir country, a greasy alley near the Hoboken waterfront, or even, possibly, for those of a less demanding sensibility, the world to be seen from a comfortable apartment high in the tender, velvety smog of Manhattan, Chicago, Paris, Tokyo, Rio, or Rome — there's no limit to the human capacity for the homing sentiment.

Wasn’t it true, then, that everything in his life from that point on had been a succession of things he hadn’t really wanted to do? Taking a hopelessly dull job to prove he could be as responsible as any other family man, moving to an overpriced, genteel apartment to prove his mature belief in the fundamentals of orderliness and good health, having another child to prove that the first one hadn’t been a mistake, buying a house in the country because that was the next logical step and he had to prove himself capable of taking it. Proving, proving; and for no other reason than that he was married to a woman who had somehow managed to put him forever on the defensive, who loved him when he was nice, who lived according to what she happened to feel like doing and who might at any time—this was the hell of it—who might at any time of day or night just happen to feel like leaving him. It was as ludicrous and as simple as that.

It was known as the Sick Man of Europe. It was in every way poorer than now. Yet there were flowerbeds on roundabouts, libraries and post offices in every village, cottage hospitals in abundance, council housing for all who needed it. It was a country so comfortable and enlightened that hospitals maintained cricket pitches for their staff and mental patients lived in Victorian palaces. If we could afford it then, why not now? Someone needs to explain to me how it is that the richer Britain gets the poorer it thinks itself.

I change the channel to another movie. An old one, but new to me. And, ironically, a thin, gorgeous blonde—Meg Ryan, maybe—rides her bike on a country road. She smiles like she has no cares in the world. Like no one ever judges her. Like her life is perfect. Wind through her hair and sunshine on her face. The only thing missing are the rainbows and butterflies and cartoon birds singing on her shoulder. Maybe I should grab my bike and try to catch up with Mom, Mike, and the kids. They can't be going very fast. I would love to feel like that, even if it's just for a second—free and peaceful and normal. Suddenly, there's a truck. It can't be headed toward Meg Ryan. Could it? Yes. Oh my God. No! Meg Ryan just got hit by that truck. Figures. See what happens when you exercise?

At last, Sturmhond straightened the lapels of his teal frock coat and said, “Well, Brekker, it’s obvious you only deal in half-truths and outright lies, so you’re clearly the man for the job.” “There’s just one thing,” said Kaz, studying the privateer’s broken nose and ruddy hair. “Before we join hands and jump off a cliff together, I want to know exactly who I’m running with.” Sturmhond lifted a brow. “We haven’t been on a road trip or exchanged clothes, but I think our introductions were civilized enough.” “Who are you really, privateer?” “Is this an existential question?” “No proper thief talks the way you do.” “How narrow-minded of you.” “I know the look of a rich man’s son, and I don’t believe a king would send an ordinary privateer to handle business this sensitive.” “Ordinary,” scoffed Sturmhond. “Are you so schooled in politics?” “I know my way around a deal. Who are you? We get the truth or my crew walks.” “Are you so sure that would be possible, Brekker? I know your plans now. I’m accompanied by two of the world’s most legendary Grisha, and I’m not too bad in a fight either.” “And I’m the canal rat who brought Kuwei Yul-Bo out of the Ice Court alive. Let me know how you like your chances.” His crew didn’t have clothes or titles to rival the Ravkans, but Kaz knew where he’d put his money if he had any left. Sturmhond clasped his hands behind his back, and Kaz saw the barest shift in his demeanor. His eyes lost their bemused gleam and took on a surprising weight. No ordinary privateer at all. “Let us say,” said Sturmhond, gaze trained on the Ketterdam street below, “hypothetically, of course, that the Ravkan king has intelligence networks that reach deep within Kerch, Fjerda, and the Shu Han, and that he knows exactly how important Kuwei Yul-Bo could be to the future of his country. Let us say that king would trust no one to negotiate such matters but himself, but that he also knows just how dangerous it is to travel under his own name when his country is in turmoil, when he has no heir and the Lantsov succession is in no way secured.” “So hypothetically,” Kaz said, “you might be addressed as Your Highness.

I have seen them stagger out of their movie palaces and blink their empty eyes in the face of reality once more, and stagger home, to read the Times, to find out what's going on in the world. I have vomited at their newspapers, read their literature, observed their customs, eaten their food, desired their women, gaped at their art. But I am poor, and my name ends with a soft vowel, and they hate me and my father, and my father's father, and they would have my blood and put me down, but they are old now, dying in the sun and in the hot dust of the road, and I am young and full of hope and love for my country and my times, and when I say Greaser to you it is not my heart that speaks, but the quivering of an old wound, and I am ashamed of the terrible thing I have done.

Normally death came at night, taking a person in their sleep, stopping their heart or tickling them awake, leading them to the bathroom with a splitting headache before pouncing and flooding their brain with blood. It waits in alleys and metro stops. After the sun goes down plugs are pulled by white-clad guardians and death is invited into an antiseptic room. But in the country death comes, uninvited, during the day. It takes fishermen in their longboats. It grabs children by the ankles as they swim. In winter it calls them down a slope too steep for their budding skills, and crosses their skies at the tips. It waits along the shore where snow met ice not long ago but now, unseen by sparkling eyes, a little water touches the shore, and the skater makes a circle slightly larger than intended. Death stands in the woods with a bow and arrow at dawn and dusk. And it tugs cars off the road in broad daylight, the tires spinning furiously on ice or snow, or bright autumn leaves.

Tiger, one day you will come to a fork in the road and you’re going to have to make a decision about which direction you want to go. He raised his hand and pointed. “If you go that way you can be somebody. You will have to make compromises and you will have to turn your back on your friends. But you will be a member of the club and you will get promoted and you will get good assignments.” Then Boyd raised his other hand and pointed in another direction. “Or you can go that way and you can do something- something for your country and for your Air Force and for yourself. If you decide you want to do something, you may not get promoted and you may not get the good assignments and you certainly will not be a favorite of your superiors. But you won’t have to compromise yourself. You will be true to your friends and to yourself. And your work might make a difference. To be somebody or to do something. In life there is often a roll call. That’s when you will have to make a decision. To be or to do? Which way will you go?

There is nobody in this country who got rich on his own. Nobody. You built a factory out there? Good for you. But I want to be clear: You moved your goods to market on the roads the rest of us paid for. You hired workers the rest of us paid to educate. You were safe in your factory because of police forces and fire forces that the rest of us paid for. You didn't have to worry that marauding bands would come and seize everything at your factory, and hire someone to protect against this, because of the work the rest of us did. Now look, you built a factory and it turned into something terrific, or a great idea? God bless! Keep a big hunk of it. But part of the underlying social contract is you take a hunk of that and pay forward for the next kid who comes along.

I have been running all about; I have knocked again at all the doors of my youth and desired to enter in there; I thought, surely it must admit me again, for I am still young and have wished so much to forget; but it fled always before me like a will-o'-the-wisp; it fell away without a sound; it crumbled like tinder at my lightest touch. And I could not understand.--Surely here at least something of it must remain? I attempted it again and again, and as a result made myself merely ridiculous and wretched. But now I know. I know now that a still, silent war has ravaged this country of my memories also; I know now it would be useless for me to look farther. Time lies between like a great gulf; I cannot get back. There is nothing for it; I must go forward, march onward, anywhere; it matters nothing, for I have no goal

Edward Gibbon (1737-1794) in his Decline and Fall of the Roman Empire said that the following five attributes marked Rome at its end: first, a mounting love of show and luxury (that is, affluence); second, a widening gap between the very rich and the very poor (this could be among countries in the family of nations as well as in a single nation); third, an obsession with sex; fourth, freakishness in the arts, masquerading as originality, and enthusiasms pretending to be creativity; fifth, an increased desire to live off the state. It all sounds so familiar. We have come a long road since our first chapter, and we are back in Rome.

The past may or may not be a foreign country. It may morph or lie still, but its capital is always Regret, and what flushes through it is the grand canal of unfledged desires that feed into an archipelago of tiny might-have-beens that never really happened but aren't unreal for not happening and might still happen though we fear they never will. And I thought of Ole Brit holding back so much, as we all do when we look back to see that the roads we've left behind or not taken have all but vanished. Regret is how we hope to back into our real lives once we find the will, the blind drive and courage, to trade in the life we're given for the life that bears our name and ours only. Regret is how we look forward to things we've long lost yet never really had. Regret is hope without conviction, I said. We're torn between regret, which is the price to pay for things not done, and remorse, which is the cost for having done them. Between one and the other, time plays all its cozy little tricks.

Americans are addicted to plausible deniability. If we can't even think critically about something as relatively insignificant as an internet cat or admit that a person might give a pet an offensive name or apologize honestly for small, careless slights, how are we ever going to reckon with the fact that our country was built by slaves on land stolen from people on whom we perpetrated a genocide? What the f*ck are we going to do? Our propensity for always, always, always choosing what is comfortable over what is right helped pave the road to this low and surreal moment in US history.

I was headed out down a long bone-white road, straight as a string and smooth as glass and glittering and wavering in the heat and humming under the tires like a plucked nerve. I was doing seventy-five but I never seemed to catch up with the pool which seemed to be over the road just this side of the horizon. Then, after a while, the sun was in my eyes, for I was driving west. So I pulled the sun screen down and squinted and put the throttle to the floor. And kept on moving west. For West is where we all plan to go some day. It is where you go when the land gives out and the old-field pines encroach. It is where you go when you get the letter saying: Flee, all is discovered. It is where you go when you look down at the blade in your hand and the blood on it. It is where you go when you are told that you are a bubble on the tide of empire. It is where you go when you hear that thar's gold in them-thar hills. It is where you go to grow up with the country. It is where you go to spend your old age. Or it is just where you go. It was just where I went.

Such people, while useful, even agreeable, to others, are, if truth be told, frequently unhappy–lonely in fact. Yes, they seek out others, and it may even seem to them that in a certain country or city they have managed to find true kinship and fellowship, having come to know and learn about a people; but they wake up one day and suddenly feel that nothing actually binds them to these people, that they can leave here at once. They realize that another country, some other people, have now beguiled them, and that yesterday’s most riveting event now pales and loses all meaning and significance. For all intents and purposes, they do not grow attached to anything, do not put down deep roots. Their empathy is sincere, but superficial. If asked which of the countries they have visited they like best, they are embarrassed–they do not know how to answer. Which one? In a certain sense–all of them. There is something compelling about each. To which country would they like to return once more? Again, embarrassment–they had never asked themselves such a question. The one certainty is that they would like to be back on the road, going somewhere. To be on their way again–that is the dream.

Should the king in exile pretend he is happy there? Should he not seek his own country? His miseries are his ally; they urge him on. Let them grow, if need be. But do not forsake the secret of life; do not despise those kingly desires. We abandon the most important journey of our lives when we abandon desire. We leave our hearts by the side of the road and head off in the direction of fitting in, getting by, being productive, what have you. Whatever we might gain – money, position, the approval of others, or just absence of the discontent self – it’s not worth it.

Often, beyond the next turning, footfalls of a herd galloping across stone were heard, or further in the distance, with reassuring grunts, a wild boar could be seen, trotting with steady stride along the edge of the road with her sow and a whole procession of young in tow. And then one's heart beat faster upon advancing a little into the subtle light: one might have said that the path had suddenly become wild, thick with grass, its dark paving-slabs engulfed by nettles, blackthorn and sloe, so that it mingled up time past rather than crossing country-side, and perhaps it was going to issue forth, in the chiaroscuro of thicket smelling of moistened down and fresh grass, into one of those glades where animals spoke to men.

We made it, baby. We’re riding in the back of the black limousine. They have lined the road to shout our names. They have faith in your golden hair & pressed grey suit. They have a good citizen in me. I love my country. I pretend nothing is wrong. I pretend not to see the man & his blond daughter diving for cover, that you’re not saying my name & it’s not coming out like a slaughterhouse. I’m not Jackie O yet & there isn’t a hole in your head, a brief rainbow through a mist of rust. I love my country but who am I kidding? I’m holding your still-hot thoughts in, darling, my sweet, sweet Jack. I’m reaching across the trunk for a shard of your memory, the one where we kiss & the nation glitters. Your slumped back. Your hand letting go. You’re all over the seat now, deepening my fuchsia dress. But I’m a good citizen, surrounded by Jesus & ambulances. I love this country. The twisted faces. My country. The blue sky. Black limousine. My one white glove glistening pink—with all our American dreams.

Why are some countries able, despite their very real and serious problems, to press ahead along the road to reconciliation, recovery, and redevelopment while others cannot? These are critical questions for Africa, and their answers are complex and not always clear. Leadership is crucial, of course. Kagame was a strong leader–decisive, focused, disciplined, and honest–and he remains so today. I believe that sometimes people's characters are molded by their environment. Angola, like Liberia, like Sierra Leone, is resource-rich, a natural blessing that sometimes has the sad effect of diminishing the human drive for self-sufficiency, the ability and determination to maximize that which one has. Kagame had nothing. He grew up in a refugee camp, equipped with only his own strength of will and determination to create a better life for himself and his countrymen.

...never [enter] into dispute or argument with another. I never saw an instance of one of two disputants convincing the other by argument. I have seen many, on their getting warm, becoming rude, & shooting one another. ... When I hear another express an opinion which is not mine, I say to myself, he has a right to his opinion, as I to mine; why should I question it? His error does me no injury, and shall I become a Don Quixote, to bring all men by force of argument to one opinion? ... There are two classes of disputants most frequently to be met with among us. The first is of young students, just entered the threshold of science, with a first view of its outlines, not yet filled up with the details & modifications which a further progress would bring to their knoledge. The other consists of the ill-tempered & rude men in society, who have taken up a passion for politics. ... Consider yourself, when with them, as among the patients of Bedlam, needing medical more than moral counsel. Be a listener only, keep within yourself, and endeavor to establish with yourself the habit of silence, especially on politics. In the fevered state of our country, no good can ever result from any attempt to set one of these fiery zealots to rights, either in fact or principle. They are determined as to the facts they will believe, and the opinions on which they will act. Get by them, therefore, as you would by an angry bull; it is not for a man of sense to dispute the road with such an animal.

Little of that makes for love, but it does pump desire. The woman who churned a man's blood as she leaned all alone on a fence by a country road might not expect even to catch his eye in the City. But if she is clipping quickly down the big-city street in heels, swinging her purse, or sitting on a stoop with a cool beer in her hand, dangling her shoe from the toes of her foot, the man, reacting to her posture, to soft skin on stone, the weight of the building stressing the delicate, dangling shoe, is captured. And he'd think it was the woman he wanted, and not some combination of curved stone, and a swinging, high-heeled shoe moving in and out of sunlight. He would know right away the deception, the trick of shapes and light and movement, but it wouldn't matter at all because the deception was part of it too. Anyway, he could feel his lungs going in and out. There is no air in the City but there is breath, and every morning it races through him like laughing gas brightening his eyes, his talk, and his expectations. In no time at all he forgets little pebbly creeks and apple trees so old they lay their branches along the ground and you have to reach down or stoop to pick the fruit. He forgets a sun that used to slide up like the yolk of a good country egg, thick and red-orange at the bottom of the sky, and he doesn't miss it, doesn't look up to see what happened to it or to stars made irrelevant by the light of thrilling, wasteful street lamps. That kind of fascination, permanent and out of control, seizes children, young girls, men of every description, mothers, brides, and barfly women, and if they have their way and get to the City, they feel more like themselves, more like the people they always believed they were.

Tell the trafic jams to no open their roads to you. Tell the eyes that meet you on the road, that I’m no longer jealous. Tell the souls that share with you the details of your day, that I no longer wich to be them. Tell to the one I advised to take care of you, to forget my advice, and to neglect you as she wants. Tell your pillow to not be gentle with your head. Tell your tooth brush to not be gentle with your gums. Tell your hair brush to not care about your head skin. Tell your blanket to not give you warmth. Tell your winter clothes to not protect you from the cold. Tell the streets’ dogs to frighten you. Tell your car’s other seat that I no longer dream of sitting on it. Tell your country that I no longer dream of flying to it. Tell your friends, your coworkers, your best friend, your neighbours, the world, the universe, your ground, your sky, I broke your chains, and I no longer care about you. So leave on the story’s seat a dry flower, and leave my memory.

People used to think that learning to read evidenced human progress; they still celebrate the decline of illiteracy as a great victory; they condemn countries with a large proportion of illiterates; they think that reading is a road to freedom. All this is debatable, for the important thing is not to be able to read, but to understand what one reads, to reflect on and judge what one reads. Outside of that, reading has no meaning (and even destroys certain automatic qualities of memory and observation). But to talk about critical faculties and discernment is to talk about something far above primary education and to consider a very small minority. The vast majority of people, perhaps 90 percent, know how to read, but do not exercise their intelligence beyond this. They attribute authority and eminent value to the printed word, or, conversely, reject it altogether. As these people do not possess enough knowledge to reflect and discern, they believe—or disbelieve—in toto what they read. And as such people, moreover, will select the easiest, not the hardest, reading matter, they are precisely on the level at which the printed word can seize and convince them without opposition. They are perfectly adapted to propaganda.

Of all the intoxicants you can find on the road (including a "national beer" for nearly every country in the world), marijuana deserves a particular mention here, primarily because it's so popular with travelers. Much of this popularity is due to the fact that marijuana is a relatively harmless diversion (again, provided you don't get caught with it) that can intensify certain impressions and sensations of travel. The problem with marijuana, however, is that it's the travel equivalent of watching television: It replaces real sensations with artificially enhanced ones. Because it doesn't force you to work for a feeling, it creates passive experiences that are only vaguely connected to the rest of your life. "The drug vision remains a sort of dream that cannot be brought over into daily life," wrote Peter Matthiessen in The Snow Leopard. "Old mists may be banished, that is true, but the alien chemical agent forms another mist, maintaining the separation of the 'I' from the true experience of the 'One.'" Moreover, chemical highs have a way of distracting you from the utterly stoning natural high of travel itself. After all, roasting a bowl might spice up a random afternoon in Dayton, Ohio, but is it really all that necessary along the Sumatran shores of Lake Toba, the mountain basins of Nepal, or the desert plateaus of Patagonia? As Salvador Dali quipped, "I never took drugs because I am drugs." With this in mind, strive to be drugs as you travel, to patiently embrace the raw, personal sensation of unmediated reality--an experience for more affecting than any intoxicant can promise.

The tractors came over the roads and into the fields, great crawlers moving like insects, having the incredible strength of insects … Snub-nosed monsters, raising the dust and sticking their snouts into it, straight down the country, across the country, through fences, through dooryards, in and out of gullies in straight lines. They did not run on the ground, but on their own roadbeds. They ignored hills and gulches, water courses, fences, houses. That man sitting in the iron seat did not look like a man; gloved, goggled, rubber dust mask over nose and mouth, he was a part of the monster, a robot in the seat … The driver could not control it – straight across country it went, cutting through a dozen farms and straight back. A twitch at the controls could swerve the ‘cat, but the driver’s hands could not twitch because the monster that built the tractor, the monster that sent the tractor out, had somehow gotten into the driver’s hands, into his brain and muscle, had goggled him and muzzled him – goggled his mind, muzzled his speech, goggled his perception, muzzled his protest. He could not see the land as it was, he could not smell the land as it smelled; his feet did not stamp the clods or feel the warmth and power of the earth. He sat in an iron seat and stepped on iron pedals. He could not cheer or beat or curse or encourage the extension of his power, and because of this he could not cheer or whip or curse or encourage himself. He did not know or own or trust or beseech the land. If a seed dropped did not germinate, it was no skin off his ass. If the young thrusting plant withered in drought or drowned in a flood of rain, it was no more to the driver than to the tractor. He loved the land no more than the bank loved the land. He could admire the tractor – its machined surfaces, its surge of power, the roar of its detonating cylinders; but it was not his tractor. Behind the tractor rolled the shining disks, cutting the earth with blades – not plowing but surgery … The driver sat in his iron seat and he was proud of the straight lines he did not will, proud of the tractor he did not own or love, proud of the power he could not control. And when that crop grew, and was harvested, no man had crumbled a hot clod in his fingers and let the earth sift past his fingertips. No man had touched the seed, or lusted for the growth. Men ate what they had not raised, had no connection with the bread. The land bore under iron, and under iron gradually died; for it was not loved or hated, it had no prayers or curses.

What could he say that might make sense to them? Could he say love was, above all, common cause, shared experience? That was the vital cement, wasn't it? Could he say how he felt about their all being here tonight on this wild world running around a big sun which fell through a bigger space falling through yet vaster immensities of space, maybe toward and maybe away from Something? Could he say: we share this billion-mile-an-hour rid. We have common cause against the night. You start with little common causes. Why love the boy in a March field with his kite braving the sky? Because our fingers burn with the hot string singeing our hands. Why love some girl viewed from a train bent to a country well? The tongue remembers iron water cool on some long lost noon. Why weep at strangers dead by the road? They resemble friends unseen in forty years. Why laugh when clowns are hot by pies? We taste custard we taste life. Why love the woman who is your wife? Her nose breathes the air of a world that I know; therefore I love that nose. Her ears hear music I might sing half the night through; therefore I love her ears. Her eyes delight in seasons of the land; and so I love those eyes. Her tongue knows quince, peach, chokeberry, mint and lime; I love to hear it speaking. Because her flesh knows heat, cold, affliction, I know fire, snow, and pain. Shared and once again shared experience. Billions of prickling textures. Cut one sense away, cut part of life away. Cut two senses; life halves itself on the instant. We love what we know, we love what we are. Common cause, common cause, common cause of mouth, eye, ear, tongue, hand, nose, flesh, heart, and soul. But... how to say it?

Style still matters, for at least three reasons. First, it ensures that writers will get their message across, sparing readers from squandering their precious moments on earth deciphering opaque prose. When the effort fails, the result can be calamitous-as Strunk and White put it, "death on the highway caused by a badly worded road sign, heartbreak among lovers caused by a misplaced phrase in a well-intentioned letter, anguish of a traveler expecting to be met at a railroad station and not being met because of a slipshod telegram." Governments and corporations have found that small improvements in clarity can prevent vast amounts of error, frustration, and waste, and many countries have recently made clear language the law of the land. Second, style earns trust. If readers can see that a writer cares about consistency and accuracy in her prose, they will be reassured that the writer cares about those virtues in conduct they cannot see as easily. Here is how one technology executive explains why he rejects job applications filled with errors of grammar and punctuation: "If it takes someone more than 20 years to notice how to properly use it's, then that's not a learning curve I'm comfortable with." And if that isn't enough to get you to brush up your prose, consider the discovery of the dating site OkCupid that sloppy grammar and spelling in a profile are "huge turn-offs." As one client said, "If you're trying to date a woman, I don't expect flowery Jane Austen prose. But aren't you trying to put your best foot forward?" Style, not least, adds beauty to the world. To a literate reader, a crisp sentence, an arresting metaphor, a witty aside, an elegant turn of phrase are among life's greatest pleasures. And as we shall see in the first chapter, this thoroughly impractical virtue of good writing is where the practical effort of mastering good writing must begin.

You big ugly. You too empty. You desert with your nothing nothing nothing. You scorched suntanned. Old too quickly. Acres of suburbs watching the telly. You bore me. Freckle silly children. You nothing much. With your big sea. Beach beach beach. I’ve seen enough already. You dumb dirty city with bar stools. You’re ugly. You silly shopping town. You copy. You too far everywhere. You laugh at me. When I came this woman gave me a box of biscuits. You try to be friendly but you’re not very friendly. You never ask me to your house. You insult me. You don’t know how to be with me. Road road tree tree. I came from crowded and many. I came from rich. You have nothing to offer. You’re poor and spread thin. You big. So what. I’m small. It’s what’s in. You silent on Sunday. Nobody on your streets. You dead at night. You go to sleep too early. You don’t excite me. You scare me with your hopeless. Asleep when you walk. Too hot to think. You big awful. You don’t match me. You burnt out. You too big sky. You make me a dot in the nowhere. You laugh with your big healthy. You want everyone to be the same. You’re dumb. You do like anybody else. You engaged Doreen. You big cow. You average average. Cold day at school playing around at lunchtime. Running around for nothing. You never accept me. For your own. You always ask me where I’m from. You always ask me. You tell me I look strange. Different. You don’t adopt me. You laugh at the way I speak. You think you’re better than me. You don’t like me. You don’t have any interest in another country. Idiot centre of your own self. You think the rest of the world walks around without shoes or electric light. You don’t go anywhere. You stay at home. You like one another. You go crazy on Saturday night. You get drunk. You don’t like me and you don’t like women. You put your arm around men in bars. You’re rough. I can’t speak to you. You burly burly. You’re just silly to me. You big man. Poor with all your money. You ugly furniture. You ugly house. You relaxed in your summer stupor. All year. Never fully awake. Dull at school. Wait for other people to tell you what to do. Follow the leader. Can’t imagine. Workhorse. Thick legs. You go to work in the morning. You shiver on a tram.

To begin with, there is the frightful debauchery of taste that has already been effected by a century of mechanisation. This is almost too obvious and too generally admitted to need pointing out. But as a single instance, take taste in its narrowest sense - the taste for decent food. In the highly mechanical countries, thanks to tinned food, cold storage, synthetic flavouring matters, etc., the palate it almost a dead organ. As you can see by looking at any greengrocer’s shop, what the majority of English people mean by an apple is a lump of highly-coloured cotton wool from America or Australia; they will devour these things, apparently with pleasure, and let the English apples rot under the trees. It is the shiny, standardized, machine-made look of the American apple that appeals to them; the superior taste of the English apple is something they simply do not notice. Or look at the factory-made, foil wrapped cheeses and ‘blended’ butter in an grocer’s; look at the hideous rows of tins which usurp more and more of the space in any food-shop, even a dairy; look at a sixpenny Swiss roll or a twopenny ice-cream; look at the filthy chemical by-product that people will pour down their throats under the name of beer. Wherever you look you will see some slick machine-made article triumphing over the old-fashioned article that still tastes of something other than sawdust. And what applies to food applies also to furniture, houses, clothes, books, amusements and everything else that makes up our environment. These are now millions of people, and they are increasing every year, to whom the blaring of a radio is not only a more acceptable but a more normal background to their thoughts than the lowing of cattle or the song of birds. The mechanisation of the world could never proceed very far while taste, even the taste-buds of the tongue, remained uncorrupted, because in that case most of the products of the machine would be simply unwanted. In a healthy world there would be no demand for tinned food, aspirins, gramophones, gas-pipe chairs, machine guns, daily newspapers, telephones, motor-cars, etc. etc.; and on the other hand there would be a constant demand for the things the machine cannot produce. But meanwhile the machine is here, and its corrupting effects are almost irresistible. One inveighs against it, but one goes on using it. Even a bare-arse savage, given the change, will learn the vices of civilisation within a few months. Mechanisation leads to the decay of taste, the decay of taste leads to demand for machine-made articles and hence to more mechanisation, and so a vicious circle is established.

Back out of all this now too much for us, Back in a time made simple by the loss Of detail, burned, dissolved, and broken off Like graveyard marble sculpture in the weather, There is a house that is no more a house Upon a farm that is no more a farm And in a town that is no more a town. The road there, if you’ll let a guide direct you Who only has at heart your getting lost, May seem as if it should have been a quarry— Great monolithic knees the former town Long since gave up pretense of keeping covered. And there’s a story in a book about it: Besides the wear of iron wagon wheels The ledges show lines ruled southeast-northwest, The chisel work of an enormous Glacier That braced his feet against the Arctic Pole. You must not mind a certain coolness from him Still said to haunt this side of Panther Mountain. Nor need you mind the serial ordeal Of being watched from forty cellar holes As if by eye pairs out of forty firkins. As for the woods’ excitement over you That sends light rustle rushes to their leaves, Charge that to upstart inexperience. Where were they all not twenty years ago? They think too much of having shaded out A few old pecker-fretted apple trees. Make yourself up a cheering song of how Someone’s road home from work this once was, Who may be just ahead of you on foot Or creaking with a buggy load of grain. The height of the adventure is the height Of country where two village cultures faded Into each other. Both of them are lost. And if you’re lost enough to find yourself By now, pull in your ladder road behind you And put a sign up CLOSED to all but me. Then make yourself at home. The only field Now left’s no bigger than a harness gall. First there’s the children’s house of make-believe, Some shattered dishes underneath a pine, The playthings in the playhouse of the children. Weep for what little things could make them glad. Then for the house that is no more a house, But only a belilaced cellar hole, Now slowly closing like a dent in dough. This was no playhouse but a house in earnest. Your destination and your destiny’s A brook that was the water of the house, Cold as a spring as yet so near its source, Too lofty and original to rage. (We know the valley streams that when aroused Will leave their tatters hung on barb and thorn.) I have kept hidden in the instep arch Of an old cedar at the waterside A broken drinking goblet like the Grail Under a spell so the wrong ones can’t find it, So can’t get saved, as Saint Mark says they mustn’t. (I stole the goblet from the children’s playhouse.) Here are your waters and your watering place. Drink and be whole again beyond confusion.

Questions of Travel There are too many waterfalls here; the crowded streams hurry too rapidly down to the sea, and the pressure of so many clouds on the mountaintops makes them spill over the sides in soft slow-motion, turning to waterfalls under our very eyes. —For if those streaks, those mile-long, shiny, tearstains, aren't waterfalls yet, in a quick age or so, as ages go here, they probably will be. But if the streams and clouds keep travelling, travelling, the mountains look like the hulls of capsized ships, slime-hung and barnacled. Think of the long trip home. Should we have stayed at home and thought of here? Where should we be today? Is it right to be watching strangers in a play in this strangest of theatres? What childishness is it that while there's a breath of life in our bodies, we are determined to rush to see the sun the other way around? The tiniest green hummingbird in the world? To stare at some inexplicable old stonework, inexplicable and impenetrable, at any view, instantly seen and always, always delightful? Oh, must we dream our dreams and have them, too? And have we room for one more folded sunset, still quite warm? But surely it would have been a pity not to have seen the trees along this road, really exaggerated in their beauty, not to have seen them gesturing like noble pantomimists, robed in pink. —Not to have had to stop for gas and heard the sad, two-noted, wooden tune of disparate wooden clogs carelessly clacking over a grease-stained filling-station floor. (In another country the clogs would all be tested. Each pair there would have identical pitch.) —A pity not to have heard the other, less primitive music of the fat brown bird who sings above the broken gasoline pump in a bamboo church of Jesuit baroque: three towers, five silver crosses. —Yes, a pity not to have pondered, blurredly and inconclusively, on what connection can exist for centuries between the crudest wooden footwear and, careful and finicky, the whittled fantasies of wooden cages. —Never to have studied history in the weak calligraphy of songbirds' cages. —And never to have had to listen to rain so much like politicians' speeches: two hour of unrelenting oratory and then a sudden golden silence in which the traveller takes a notebook, writes: "Is it lack of imagination that makes us come to imagined places, not just stay at home? Or could Pascal have been entirely right about just sitting quietly in one's room? Continent, city, country, society: the choice is never wide and never free. And here, or there...No. Should we have stayed at home, wherever that may be?